The structure begins in the past as we are introduced to Arthur Leander, the famous Hollywood actor as he suffers a heart attack onstage during his performance. Jeevan, a paramedic in training, attempts to save his life as he performs CPR on stage. A frightened child, Kirsten, watches from backstage as this is happening. A flu pandemic arrived in the city after this tragedy took place and wiped out their civilization. The novel then jumps to twenty years later where Kirsten is now an adult. This structure is beneficial because it introduces the reader to Kirsten's childhood and all the mysterious things that happened in that town. It gives the reader a background to the novel and how the characters got to where they are. Although it is slightly confusing because it jumps from twenty years and there is a huge gap it plays onto the mysterious tone of the novel. The structure of the novel is written in third person which is beneficial because we are introduced to so many different characters. In the beginning we are introduced to Jeevan and it allows us to hear his thoughts and feelings. "All the magic of the storm had left him, and the happiness he'd felt a moment earlier was fading" (Mandel 12). Then we are introduced to Kirsten and we are able to here hear thoughts and feelings as well.
The 20 year jump is also effective because it depicts the severity of the situation: "The caravans had once been pickup trucks, but now they were pulled by teams of horses... All of the pieces rendered useless by the end of gasoline had been removed" (Mandel 36). Skipping in time allows the reader to fully digest the post-apocalyptic situation. On a similar note, the passage about computers and the mysterious internet explains what little the Travelling Symphony has to live with. Almost every aspect of former civilization is now all but extinct.
Even though Mandel uses a third person omniscient point-of-view to narrate, she sometimes manipulates her sentence structure to make the story feel like it is narrated in first person. When Kirsten arrives in St. Deborah by the Water, she seeks out her friend Charlotte. While anxiously waiting for a local's explanation, Mandel writes, "Oh Charlie, where are you?" (50). Squeezing this short line directly in between Kirsten's dialogue makes it read as if it were a line of dialogue. Also, Mandel does not introduce the question with 'Kirsten wondered' or 'Kirsten thought'. The phrase is not even italicized. By removing typical descriptive elements, Mandel assumes the role of Kirsten. Her insightful style is useful because of the large number of characters.
Week 1: Jeevan After the first short chapter, we learn important details about Jeevan's character. The dynamic between Jeevan and his wife Laura quickly turns from romantic to cold: "He felt extravagantly, guiltily alive... He stopped to read a text message from Laura: I have a headache so I went home. Can you pick up milk? And here, all momentum left him. He could go no farther" (Mandel 11). While Jeevan seems to find his true calling in life as a paramedic, the tension in his relationship foreshadows future problems to come. The mood of the work drastically shifts from lighthearted to serious all due to one text from Laura. Additionally, Jeevan is left in an awkward position for further character development because of his current vulnerability.
I also noticed how the author really emphasizes on characterization. Just within the first few chapters we are introduced to a lot of names of people. Although there are a lot of characters we learn important details about specific characters such as Jeevan, Kirsten and Arthur Leander. I also liked how the author introduced their background in the first chapter, but then proceeded to jump to 20 years later. Being introduced to Kirsten as a child and learning about Arthur's death and the flu pandemic really set the stage for the rest of the novel. "There were countless things about the pre-collapse world that Kirsten couldn't remember - her street address, her mother's face, the tv shows that August never stopped talking about-but she did remember Arthur Leander.." (40).
Week 1: Humanity and Art Twenty years after the Georgian Flu outbreak, the focus of the narrative shifts to Kirsten and the Traveling Symphony. Instead of settling down and leading a more potentially calm life, the Symphony members travel from town to town and perform. The rag tag group of artists live under undesirable conditions. Two Symphony members start to argue about heat and exhaustion by prefacing both of their complaints with “‘You know what’s side-piercing?’” (St. John Mandel 36). The straightforward question-and-answer pattern emphasizes how much everyday misery the members face in their travels. In addition to their brutal environment, the Symphony members must deal with internal problems: “hell was other flutes or other people or whoever had used the last of the rosin or whoever missed the most rehearsals” (48). Mandel’s use of polysyndeton makes the sentence tiring to read, reflecting the artists’ frustrations with each other. Describing the troubles of the Symphony, Mandel prompts readers to evaluate how the artists carry on. They do not need to be comfortable or get along all of the time, because their love for performing unifies them and gives them purpose. Through the Traveling Symphony, Mandel suggests that human expression is a vital component of life.
I think that Mandel included the Traveling Symphony to demonstrate the enjoyment that the group gets from their performances. There doesn't seem to be any physical reward other than self-satisfaction. The notion of pleasure highlights the importance of finding joy in poor circumstances. In a post-pandemic society, the group still finds enjoyment in the arts: "'For once I agree with you,' Kristen said...'A Midsummer Night's Dream,' Gil said, breaking an impasse. 'I believe the evening calls for fairies'" (Mandel 44).
I also noticed that there is a motif contrasting light and dark. For example, when you visualize a storm, the sky is very dark and cloudy. I feel Mandel used this motif because the storm and darkness represent the destruction of the mystery of this city. This contrasts the view that the people living in the town have. The prophet continually references the word light which symbolizes innocence, purity or happiness. "The light we carry within us is the ark that carried Noah and his people over the face of the terrible waters, and I submit that we were saved.. not only to bright the light, to spread the light, but to be the light. We were saved because we are the light. We are the pure" (Mandel 60). The prophet views the flu pandemic as a good thing to happen to this city which contrasts the view of outsiders.
I found the paperweight motif particularly interesting because of its placement. In "The Theater", Tanya gives it to Kirsten to calm her down after witnessing Arthur's death. Once Miranda realizes that her relationship with Arthur has ended, she goes into his study and holds the "pleasing weight in the palm of her hand" (Mandel 104). When the stormy paperweight appears, it is consistently related a major shift in Arthur's life. Mandel uses the motif in separate spots to create a sense of mystery about what happened between Arthur's first divorce and his death. In this way, the paperweight acts as an omen.
Jenna's observation about Mandel's rejection of tropes is tied, I think, to the event that Mandel focuses on as the center of the before/after--Arthur's death on stage as Lear. How does Arthur represent common tropes? Why have his death at the center of the novel's structure? Why performing as Lear and Kirsten in a "nontraditional" role invented by the director?
Week 2: Setting Throughout the novel so far there has not been a specific setting. Each chapter it jumps from a different time whether it be past or present and a different place with a different story. For example in chapter 15 we are introduced to Arthur and Miranda's marriage, then chapter 16 is an interview and by chapter 17 it has jumped back to the Traveling Symphony with Kirsten. Although I personally think the constant change of settings and dozens of different characters can become confusing it is beneficial to understand all of these different stories because they all somehow connect together. "It was strange, she kept thinking, that the prophet's dog had the same name as the dog in her comic books. She'd never heard the name Luli before or since" (Mendel 120). Two chapters before we were just introduced to Miranda and her comic book. This proves that although the setting jumps around it still is organized and flows together.
In Station Eleven, the Georgian Flu outbreak causes a major shift in setting. Before the flu, some of the stories take place in New York City. This grand location seems incredibly alive--not only does it have a large population, but it is a vibrant, busy city. Later, traces of humanity become relics. Most of the towns visited by the Traveling Symphony are desolate and abandoned, and once-inhabited buildings look like ruins. The characters’ attitudes in both eras do not reflect their surroundings. After silently criticizing two youth who are obsessed with their i-Phones, Clark sadly realizes that he is “as minimally present in this world as [they] are” (Mandel 164). Clark has an endless wealth of activities and culture to appreciate in New York City. However, he finds himself unsatisfied because of his mindless approach towards work. While on the road, Kirsten relishes in the “moments around campfires when someone would say something invigorating about the importance of art” (119). Instead of allowing the absence of people to bore her, she takes interest in day-to-day conversations, old comics, and light switches. By juxtaposing these characters’ environments with their emotions, Mandel emphasizes the distinction between simply living and finding meaning in life.
I have also noticed the difference between surviving and enjoying life. The Traveling Symphony provides an outlet for many who search for a better life than simply day-to-day survival: "Sometimes the Traveling Symphony thought that what they were doing was noble" (119). Although all of the modern entertainment, such as video games, movies, and other media, has become extinct, the group finds enjoyment and purpose with the arts. Mandel establishes a dynamic of meaning throughout the novel, as characters search for fulfillment with the mundane. The Traveling Symphony symbolizes a gang of artists who all attempt to maintain the fading fabric of live music, performances, and the traditional theater setting.
Does that line "Hell is the absence of the people you long for" only apply to the post-Georgia Flu time period of the novel? How is the longing for personal connections, a sense of shared community, or just emotional intimacy also explored in the pre-Georgia Flu time period--either in Miranda or Arthur's sections especially?
Mandel effectively separates the struggles of the pre- versus the post-apocalypse. What's odd is that the struggles in both instances seem to be of equal caliber. One would expect the post-pandemic society to suffer greater tragedies. I think this is linked to Mandel's ability to capture the reader to each individual timeline: "...this was the pleasure of being alive in Year Twenty, this calmer age. For the first ten or twelve years after the collapse, he would have been much more likely to shoot them on sight" (145). The links between years allows the reader to digest the vast time differential and understand the situations of the characters from their individual perspectives.
Whenever you watch a scary movie or something with a mysterious haunting tone it is almost always located somewhere in the woods or forest. I found it interesting that when members of the Symphony began disappearing Kirsten and August were searching in the woods. "The forest was filled with small noises: rainwater dripping from the trees, the movements of animals, a light breeze" (134). All these sounds and the owl was a distraction while people began disappearing. This setting was beneficial to the mysterious haunting tone of this chapter.
I noticed early on in the novel that age played an important role. Introducing Kirsten as a child before the flu influences her adult life and thinking. Meaning she is more aware of her surroundings and understands what life was like before and how the flu had a negative impact on society. For example when she is the school as Claire mentioned before she can handle the sight of a skeleton because of her age and experience. "Because we are always looking for the former world, before all the traces of the former world are gone" (130). Kirsten is aware of what the former world is because she personally experienced it as a child.
Mandel also makes note of the ‘temporary’ attitude before the survival era takes place. When Jeevan stays in his brother's apartment for several weeks, the author uses incomplete sentences to create a state of denial. Jeevan looks at the lake from his window and dreams of how "Maybe a boat would come, and..." save him (Mandel 178). Later, he tries to calm himself by rationalizing the situation: "in the movie version of this there's the apocalypse, and then afterward--" (193). The boat and ‘afterward’ suggest a future in which Jeevan could survive and everything might return to normal. However, he does not finish his comments because he knows that his hopes are unrealistic.
Kirsten's attempt to bridge the past with the present is also evident in her fascination with parallel universes. While her and August ransack a house, they find a tabloid magazine containing photos of Arthur. After August tells Kirsten that "'It would've been [her] in those tabloid pictures...in a parallel universe'", Kirsten admits that "she tried to imagine and place herself in that other, shadow life"(Mandel 210). Kirsten considers Arthur a huge influence on her life, and she wants to relive the point in time when they were together. Typically, she attaches to the physical relics he gave her in order to feel this connection. The parallel universe serves the same function in that it allows Kirsten to grow up and become just like the figure she revered for so long.
Week 2: Jeevan the Paparazzo (MAKE UP) When we first meet Jeevan in the distant past (pre-apocalyptic), he seems to be an arrogant photographer struggling to make a living: "...'you're in front of my house smoking every night.' 'Six nights a week,' he says. 'I take Mondays off'" (102). At fist, he comes off as creepy. As the conversation between him and Miranda continue, we find out that Jeevan is very determined in life. "'What do you live for?' 'Truth and beauty,' he says, deadpan" (102). Although he barks at Miranda for not working in her life, Jeevan's goal is to, of course, capture an embarrassing shot of Miranda that will pay his rent. The life of a paparazzo isn't a highly respected one, but Mandel includes this interaction to help shape Jeevan into how the reader knows him in the future and to capitalize on Miranda's nadir in respect to her relationship with Arthur.
Week 3: Robert as a Means of Redefining Clark When Mandel first introduces readers to Clark, he seems like a blunt, rigid character. Clark conducts brutally critical three hundred and sixty degree reports about business leaders in order to change their behaviors. In the last third of the novel, the author incorporates Robert to characterize Clark as a tender, pining person. On the third day in the Severn City airport, Clark tries to express his concern “to Imaginary Robert, but Imaginary Robert [doesn’t] reply” (Mandel 243). If Robert is ‘imaginary’, one can assume that he will not reply, because he is not present in the airport. While this phrase is technically unnecessary, it emphasizes Clark’s loneliness. Once Clark takes the opportunity to learn another language, French, the fourth phrase he learns is “Tu me manques” (252). He repeats this phrase, which translates to ‘I miss you’, three times. Even after he admits to training himself to forget certain people from his past, Clark thinks of his boyfriend. Robert’s memory inspires him to become a curator. Allowing the audience to learn about flu-era Clark for the first two-thirds of the novel causes readers to primarily view him as a serious, professional man. Suddenly placing him in the post-flu era without Robert or Arthur transforms him into a more complex, emotionally vulnerable character.
Week 3: Post-pandemic or minimalist society? Emily St. John Mandel did an excellent job at creating the post-pandemic society as transparent as possible. The plot of the book didn't focus on the downfall of society, but rather the interactions between the characters woven into different time periods. The 'rules and regulations' seen in other post-apocalyptic work seemed unnecessary in Station Eleven. "She was thinking about the way she'd always taken for granted that the world had certain people in it, either central to her days or unseen and infrequently thought of" (225). Subtle hints of the past life or of the global situation arise throughout the novel, however, they benefit the story line by providing a sense of purpose for the characters in the current time. The simplicity for the bases of the novel helped push the plot in a forward moving direction that didn't seem to get stuck in any one particular spot. Furthermore, the plausibility of the novel helped me to remain engaged while reading without questioning any of the minute details.
I really like how you mentioned that the plot of the novel focused on the interactions between the characters and time periods. It was really unique how all of the characters had some sort of connection no matter what time period they were in whether it was pre or post-pandemic. For example how Kirsten had the comic of Station Eleven that was written by Miranda pre-pandemic. I felt that this structure was truly beneficial to the post-pandemic society because it showed that there was still aspects of pre-pandemic society relevant in the present. Another example of this is the paperweight. "It was the paperweight of the clouded glass that Clark Thompson had brought to a dinner party in Los Angeles eleven years ago, and she'd taken it that night from Arthur's study" (216). Present day Kirsten carried this paperweight around with her while she traveled with the Symphony. This proves that there was a connection between the time periods how the effect the characters and their memories after the pandemic.
Week 3: characters As the structure of the novel jumped from different time periods and settings the author always associated that time period with a specific character. First, in the beginning of the novel we are introduced to Jeevan before the flu pandemic and then Kirsten after the pandemic and finally the novel ends with Clark. "Clark looks up at the evening activity on the Tarmac, at the planes that have been grounded for twenty years, the reflection of his candle flickering in the glass.." (332). Mandel's structure of her novel is different than a Norma first person point of view novel. Associating different characters with different times helped organize her nonchronological structure. It made the storyline easier to follow and was very unique with went along with the unique theme of loss of civilization.
This follows suit with what I mentioned about the fluidity of the novel. Jeevan, Miranda, Arthur, Kristen, and Clark all identify a strong sense of time and purpose: "the first marked a man who came at her in her first year with the Symphony, when she was fifteen..." (295). Mandel incorporates little blips of time reference to aid the understanding of the reader. The characters act as the setting for the novel, orienting the reader to the current time period, rather than the post-pandemic society.
Another component that clouds the idea of imagination versus reality is Mandel's ability to expose future events to the reader in her narration: "In four months Miranda will be back in Toronto, divorced at twenty-seven, working on a commerce degree..." (107). Mandel uses this technique several times throughout the course of the novel in order to reveal the reality of the situation, however, from the reader's perspective, it may seem less real due to the abrupt understatements about the future. As readers, we decipher what seems to be true and what seems fake. Simply putting the future out in the open forces the reader to second guess about 'known facts' in the book. It is ultimately up to the reader to decide what's real and what isn't.
I also noticed this blur between imagination and reality when Mandel describes Miranda's final moments. While lying on the beach, she thinks about a certain scene from Station Eleven in which Captain Lonagan describes dying as "exactly like waking up from a dream" (Mandel 330). Relating life to a dream and death to reality adds to Miranda's delirium. Also, Lonagan's consolation is curious because death is typically compared to falling asleep, not waking up. In defying this common belief about death, Mandel forces readers to question if Miranda is truly dying or just stuck in a fantasy.
I also found the interview chapters very unique as they were used to kind of break up the different sections of the novel offer a glimpse of present day life. I almost feel that instead of Kirsten not wanting to be remembered for the darker parts of her life she didn't want to remember it herself. "But so little. My memories from before the collapse seem like dreams now..." (195). It was if Kirsten repressed these memories from her consciousness because she did not want to remember these terrible things.
I also noticed this blur between imagination and reality when Mandel describes Miranda's final moments. While lying on the beach, she thinks about a certain scene from Station Eleven in which Captain Lonagan describes dying as "exactly like waking up from a dream" (Mandel 330). Relating life to a dream and death to reality adds to Miranda's delirium. Also, Lonagan's consolation is curious because death is typically compared to falling asleep, not waking up. In defying this common belief about death, Mandel forces readers to question if Miranda is truly dying or just stuck in a fantasy.
Although it is not uncommon to have killed several people in the post-pandemic era, I think those characters who have taken lives also show a desire to improve through their tattoos. When Charlie first arrives at the Severn City airport, Clark notices "flowers, musical notes, names in an elaborate scroll, a rabbit" and "[f]our knives tattooed in a row on her right forearm" (Mandel 279). Names are generally tattooed to honor an important person, and the knife tattoos function in a similar way. Charlie might not have known all of the people she killed, but by tattooing a knife for each of them, she carries a record of their existence. This is especially significant considering that she lives in a time where people frequently disappear or die without a trace. The tattoos may mark death, but they present Charlie and Kirsten as keepers instead of killers.
The structure begins in the past as we are introduced to Arthur Leander, the famous Hollywood actor as he suffers a heart attack onstage during his performance. Jeevan, a paramedic in training, attempts to save his life as he performs CPR on stage. A frightened child, Kirsten, watches from backstage as this is happening. A flu pandemic arrived in the city after this tragedy took place and wiped out their civilization. The novel then jumps to twenty years later where Kirsten is now an adult. This structure is beneficial because it introduces the reader to Kirsten's childhood and all the mysterious things that happened in that town. It gives the reader a background to the novel and how the characters got to where they are. Although it is slightly confusing because it jumps from twenty years and there is a huge gap it plays onto the mysterious tone of the novel. The structure of the novel is written in third person which is beneficial because we are introduced to so many different characters. In the beginning we are introduced to Jeevan and it allows us to hear his thoughts and feelings. "All the magic of the storm had left him, and the happiness he'd felt a moment earlier was fading" (Mandel 12). Then we are introduced to Kirsten and we are able to here hear thoughts and feelings as well.
ReplyDeleteThe 20 year jump is also effective because it depicts the severity of the situation: "The caravans had once been pickup trucks, but now they were pulled by teams of horses... All of the pieces rendered useless by the end of gasoline had been removed" (Mandel 36). Skipping in time allows the reader to fully digest the post-apocalyptic situation. On a similar note, the passage about computers and the mysterious internet explains what little the Travelling Symphony has to live with. Almost every aspect of former civilization is now all but extinct.
DeleteEven though Mandel uses a third person omniscient point-of-view to narrate, she sometimes manipulates her sentence structure to make the story feel like it is narrated in first person. When Kirsten arrives in St. Deborah by the Water, she seeks out her friend Charlotte. While anxiously waiting for a local's explanation, Mandel writes, "Oh Charlie, where are you?" (50). Squeezing this short line directly in between Kirsten's dialogue makes it read as if it were a line of dialogue. Also, Mandel does not introduce the question with 'Kirsten wondered' or 'Kirsten thought'. The phrase is not even italicized. By removing typical descriptive elements, Mandel assumes the role of Kirsten. Her insightful style is useful because of the large number of characters.
DeleteWeek 1: Jeevan
ReplyDeleteAfter the first short chapter, we learn important details about Jeevan's character. The dynamic between Jeevan and his wife Laura quickly turns from romantic to cold: "He felt extravagantly, guiltily alive... He stopped to read a text message from Laura: I have a headache so I went home. Can you pick up milk? And here, all momentum left him. He could go no farther" (Mandel 11). While Jeevan seems to find his true calling in life as a paramedic, the tension in his relationship foreshadows future problems to come. The mood of the work drastically shifts from lighthearted to serious all due to one text from Laura. Additionally, Jeevan is left in an awkward position for further character development because of his current vulnerability.
I also noticed how the author really emphasizes on characterization. Just within the first few chapters we are introduced to a lot of names of people. Although there are a lot of characters we learn important details about specific characters such as Jeevan, Kirsten and Arthur Leander. I also liked how the author introduced their background in the first chapter, but then proceeded to jump to 20 years later. Being introduced to Kirsten as a child and learning about Arthur's death and the flu pandemic really set the stage for the rest of the novel. "There were countless things about the pre-collapse world that Kirsten couldn't remember - her street address, her mother's face, the tv shows that August never stopped talking about-but she did remember Arthur Leander.." (40).
DeleteWeek 1: Humanity and Art
ReplyDeleteTwenty years after the Georgian Flu outbreak, the focus of the narrative shifts to Kirsten and the Traveling Symphony. Instead of settling down and leading a more potentially calm life, the Symphony members travel from town to town and perform. The rag tag group of artists live under undesirable conditions. Two Symphony members start to argue about heat and exhaustion by prefacing both of their complaints with “‘You know what’s side-piercing?’” (St. John Mandel 36). The straightforward question-and-answer pattern emphasizes how much everyday misery the members face in their travels. In addition to their brutal environment, the Symphony members must deal with internal problems: “hell was other flutes or other people or whoever had used the last of the rosin or whoever missed the most rehearsals” (48). Mandel’s use of polysyndeton makes the sentence tiring to read, reflecting the artists’ frustrations with each other. Describing the troubles of the Symphony, Mandel prompts readers to evaluate how the artists carry on. They do not need to be comfortable or get along all of the time, because their love for performing unifies them and gives them purpose. Through the Traveling Symphony, Mandel suggests that human expression is a vital component of life.
I think that Mandel included the Traveling Symphony to demonstrate the enjoyment that the group gets from their performances. There doesn't seem to be any physical reward other than self-satisfaction. The notion of pleasure highlights the importance of finding joy in poor circumstances. In a post-pandemic society, the group still finds enjoyment in the arts: "'For once I agree with you,' Kristen said...'A Midsummer Night's Dream,' Gil said, breaking an impasse. 'I believe the evening calls for fairies'" (Mandel 44).
DeleteI also noticed that there is a motif contrasting light and dark. For example, when you visualize a storm, the sky is very dark and cloudy. I feel Mandel used this motif because the storm and darkness represent the destruction of the mystery of this city. This contrasts the view that the people living in the town have. The prophet continually references the word light which symbolizes innocence, purity or happiness. "The light we carry within us is the ark that carried Noah and his people over the face of the terrible waters, and I submit that we were saved.. not only to bright the light, to spread the light, but to be the light. We were saved because we are the light. We are the pure" (Mandel 60). The prophet views the flu pandemic as a good thing to happen to this city which contrasts the view of outsiders.
ReplyDeleteI found the paperweight motif particularly interesting because of its placement. In "The Theater", Tanya gives it to Kirsten to calm her down after witnessing Arthur's death. Once Miranda realizes that her relationship with Arthur has ended, she goes into his study and holds the "pleasing weight in the palm of her hand" (Mandel 104). When the stormy paperweight appears, it is consistently related a major shift in Arthur's life. Mandel uses the motif in separate spots to create a sense of mystery about what happened between Arthur's first divorce and his death. In this way, the paperweight acts as an omen.
ReplyDeleteJenna's observation about Mandel's rejection of tropes is tied, I think, to the event that Mandel focuses on as the center of the before/after--Arthur's death on stage as Lear. How does Arthur represent common tropes? Why have his death at the center of the novel's structure? Why performing as Lear and Kirsten in a "nontraditional" role invented by the director?
ReplyDeleteWeek 2: Setting
ReplyDeleteThroughout the novel so far there has not been a specific setting. Each chapter it jumps from a different time whether it be past or present and a different place with a different story. For example in chapter 15 we are introduced to Arthur and Miranda's marriage, then chapter 16 is an interview and by chapter 17 it has jumped back to the Traveling Symphony with Kirsten. Although I personally think the constant change of settings and dozens of different characters can become confusing it is beneficial to understand all of these different stories because they all somehow connect together. "It was strange, she kept thinking, that the prophet's dog had the same name as the dog in her comic books. She'd never heard the name Luli before or since" (Mendel 120). Two chapters before we were just introduced to Miranda and her comic book. This proves that although the setting jumps around it still is organized and flows together.
Week 2: The Contrast Between Location and Emotion
ReplyDeleteIn Station Eleven, the Georgian Flu outbreak causes a major shift in setting. Before the flu, some of the stories take place in New York City. This grand location seems incredibly alive--not only does it have a large population, but it is a vibrant, busy city. Later, traces of humanity become relics. Most of the towns visited by the Traveling Symphony are desolate and abandoned, and once-inhabited buildings look like ruins. The characters’ attitudes in both eras do not reflect their surroundings. After silently criticizing two youth who are obsessed with their i-Phones, Clark sadly realizes that he is “as minimally present in this world as [they] are” (Mandel 164). Clark has an endless wealth of activities and culture to appreciate in New York City. However, he finds himself unsatisfied because of his mindless approach towards work. While on the road, Kirsten relishes in the “moments around campfires when someone would say something invigorating about the importance of art” (119). Instead of allowing the absence of people to bore her, she takes interest in day-to-day conversations, old comics, and light switches. By juxtaposing these characters’ environments with their emotions, Mandel emphasizes the distinction between simply living and finding meaning in life.
I have also noticed the difference between surviving and enjoying life. The Traveling Symphony provides an outlet for many who search for a better life than simply day-to-day survival: "Sometimes the Traveling Symphony thought that what they were doing was noble" (119). Although all of the modern entertainment, such as video games, movies, and other media, has become extinct, the group finds enjoyment and purpose with the arts. Mandel establishes a dynamic of meaning throughout the novel, as characters search for fulfillment with the mundane. The Traveling Symphony symbolizes a gang of artists who all attempt to maintain the fading fabric of live music, performances, and the traditional theater setting.
DeleteDoes that line "Hell is the absence of the people you long for" only apply to the post-Georgia Flu time period of the novel? How is the longing for personal connections, a sense of shared community, or just emotional intimacy also explored in the pre-Georgia Flu time period--either in Miranda or Arthur's sections especially?
ReplyDeleteMandel effectively separates the struggles of the pre- versus the post-apocalypse. What's odd is that the struggles in both instances seem to be of equal caliber. One would expect the post-pandemic society to suffer greater tragedies. I think this is linked to Mandel's ability to capture the reader to each individual timeline: "...this was the pleasure of being alive in Year Twenty, this calmer age. For the first ten or twelve years after the collapse, he would have been much more likely to shoot them on sight" (145). The links between years allows the reader to digest the vast time differential and understand the situations of the characters from their individual perspectives.
ReplyDeleteWhenever you watch a scary movie or something with a mysterious haunting tone it is almost always located somewhere in the woods or forest. I found it interesting that when members of the Symphony began disappearing Kirsten and August were searching in the woods. "The forest was filled with small noises: rainwater dripping from the trees, the movements of animals, a light breeze" (134). All these sounds and the owl was a distraction while people began disappearing. This setting was beneficial to the mysterious haunting tone of this chapter.
ReplyDeleteI noticed early on in the novel that age played an important role. Introducing Kirsten as a child before the flu influences her adult life and thinking. Meaning she is more aware of her surroundings and understands what life was like before and how the flu had a negative impact on society. For example when she is the school as Claire mentioned before she can handle the sight of a skeleton because of her age and experience. "Because we are always looking for the former world, before all the traces of the former world are gone" (130). Kirsten is aware of what the former world is because she personally experienced it as a child.
ReplyDeleteMandel also makes note of the ‘temporary’ attitude before the survival era takes place. When Jeevan stays in his brother's apartment for several weeks, the author uses incomplete sentences to create a state of denial. Jeevan looks at the lake from his window and dreams of how "Maybe a boat would come, and..." save him (Mandel 178). Later, he tries to calm himself by rationalizing the situation: "in the movie version of this there's the apocalypse, and then afterward--" (193). The boat and ‘afterward’ suggest a future in which Jeevan could survive and everything might return to normal. However, he does not finish his comments because he knows that his hopes are unrealistic.
ReplyDeleteKirsten's attempt to bridge the past with the present is also evident in her fascination with parallel universes. While her and August ransack a house, they find a tabloid magazine containing photos of Arthur. After August tells Kirsten that "'It would've been [her] in those tabloid pictures...in a parallel universe'", Kirsten admits that "she tried to imagine and place herself in that other, shadow life"(Mandel 210). Kirsten considers Arthur a huge influence on her life, and she wants to relive the point in time when they were together. Typically, she attaches to the physical relics he gave her in order to feel this connection. The parallel universe serves the same function in that it allows Kirsten to grow up and become just like the figure she revered for so long.
ReplyDeleteWeek 2: Jeevan the Paparazzo (MAKE UP)
ReplyDeleteWhen we first meet Jeevan in the distant past (pre-apocalyptic), he seems to be an arrogant photographer struggling to make a living: "...'you're in front of my house smoking every night.' 'Six nights a week,' he says. 'I take Mondays off'" (102). At fist, he comes off as creepy. As the conversation between him and Miranda continue, we find out that Jeevan is very determined in life. "'What do you live for?' 'Truth and beauty,' he says, deadpan" (102). Although he barks at Miranda for not working in her life, Jeevan's goal is to, of course, capture an embarrassing shot of Miranda that will pay his rent. The life of a paparazzo isn't a highly respected one, but Mandel includes this interaction to help shape Jeevan into how the reader knows him in the future and to capitalize on Miranda's nadir in respect to her relationship with Arthur.
Week 3: Robert as a Means of Redefining Clark
ReplyDeleteWhen Mandel first introduces readers to Clark, he seems like a blunt, rigid character. Clark conducts brutally critical three hundred and sixty degree reports about business leaders in order to change their behaviors. In the last third of the novel, the author incorporates Robert to characterize Clark as a tender, pining person. On the third day in the Severn City airport, Clark tries to express his concern “to Imaginary Robert, but Imaginary Robert [doesn’t] reply” (Mandel 243). If Robert is ‘imaginary’, one can assume that he will not reply, because he is not present in the airport. While this phrase is technically unnecessary, it emphasizes Clark’s loneliness. Once Clark takes the opportunity to learn another language, French, the fourth phrase he learns is “Tu me manques” (252). He repeats this phrase, which translates to ‘I miss you’, three times. Even after he admits to training himself to forget certain people from his past, Clark thinks of his boyfriend. Robert’s memory inspires him to become a curator. Allowing the audience to learn about flu-era Clark for the first two-thirds of the novel causes readers to primarily view him as a serious, professional man. Suddenly placing him in the post-flu era without Robert or Arthur transforms him into a more complex, emotionally vulnerable character.
Week 3: Post-pandemic or minimalist society?
ReplyDeleteEmily St. John Mandel did an excellent job at creating the post-pandemic society as transparent as possible. The plot of the book didn't focus on the downfall of society, but rather the interactions between the characters woven into different time periods. The 'rules and regulations' seen in other post-apocalyptic work seemed unnecessary in Station Eleven. "She was thinking about the way she'd always taken for granted that the world had certain people in it, either central to her days or unseen and infrequently thought of" (225). Subtle hints of the past life or of the global situation arise throughout the novel, however, they benefit the story line by providing a sense of purpose for the characters in the current time. The simplicity for the bases of the novel helped push the plot in a forward moving direction that didn't seem to get stuck in any one particular spot. Furthermore, the plausibility of the novel helped me to remain engaged while reading without questioning any of the minute details.
I really like how you mentioned that the plot of the novel focused on the interactions between the characters and time periods. It was really unique how all of the characters had some sort of connection no matter what time period they were in whether it was pre or post-pandemic. For example how Kirsten had the comic of Station Eleven that was written by Miranda pre-pandemic. I felt that this structure was truly beneficial to the post-pandemic society because it showed that there was still aspects of pre-pandemic society relevant in the present. Another example of this is the paperweight. "It was the paperweight of the clouded glass that Clark Thompson had brought to a dinner party in Los Angeles eleven years ago, and she'd taken it that night from Arthur's study" (216). Present day Kirsten carried this paperweight around with her while she traveled with the Symphony. This proves that there was a connection between the time periods how the effect the characters and their memories after the pandemic.
DeleteWeek 3: characters
ReplyDeleteAs the structure of the novel jumped from different time periods and settings the author always associated that time period with a specific character. First, in the beginning of the novel we are introduced to Jeevan before the flu pandemic and then Kirsten after the pandemic and finally the novel ends with Clark. "Clark looks up at the evening activity on the Tarmac, at the planes that have been grounded for twenty years, the reflection of his candle flickering in the glass.." (332). Mandel's structure of her novel is different than a Norma first person point of view novel. Associating different characters with different times helped organize her nonchronological structure. It made the storyline easier to follow and was very unique with went along with the unique theme of loss of civilization.
This follows suit with what I mentioned about the fluidity of the novel. Jeevan, Miranda, Arthur, Kristen, and Clark all identify a strong sense of time and purpose: "the first marked a man who came at her in her first year with the Symphony, when she was fifteen..." (295). Mandel incorporates little blips of time reference to aid the understanding of the reader. The characters act as the setting for the novel, orienting the reader to the current time period, rather than the post-pandemic society.
DeleteAnother component that clouds the idea of imagination versus reality is Mandel's ability to expose future events to the reader in her narration: "In four months Miranda will be back in Toronto, divorced at twenty-seven, working on a commerce degree..." (107). Mandel uses this technique several times throughout the course of the novel in order to reveal the reality of the situation, however, from the reader's perspective, it may seem less real due to the abrupt understatements about the future. As readers, we decipher what seems to be true and what seems fake. Simply putting the future out in the open forces the reader to second guess about 'known facts' in the book. It is ultimately up to the reader to decide what's real and what isn't.
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ReplyDeleteI also noticed this blur between imagination and reality when Mandel describes Miranda's final moments. While lying on the beach, she thinks about a certain scene from Station Eleven in which Captain Lonagan describes dying as "exactly like waking up from a dream" (Mandel 330). Relating life to a dream and death to reality adds to Miranda's delirium. Also, Lonagan's consolation is curious because death is typically compared to falling asleep, not waking up. In defying this common belief about death, Mandel forces readers to question if Miranda is truly dying or just stuck in a fantasy.
ReplyDeleteI also found the interview chapters very unique as they were used to kind of break up the different sections of the novel offer a glimpse of present day life. I almost feel that instead of Kirsten not wanting to be remembered for the darker parts of her life she didn't want to remember it herself. "But so little. My memories from before the collapse seem like dreams now..." (195). It was if Kirsten repressed these memories from her consciousness because she did not want to remember these terrible things.
ReplyDeleteI also noticed this blur between imagination and reality when Mandel describes Miranda's final moments. While lying on the beach, she thinks about a certain scene from Station Eleven in which Captain Lonagan describes dying as "exactly like waking up from a dream" (Mandel 330). Relating life to a dream and death to reality adds to Miranda's delirium. Also, Lonagan's consolation is curious because death is typically compared to falling asleep, not waking up. In defying this common belief about death, Mandel forces readers to question if Miranda is truly dying or just stuck in a fantasy.
ReplyDeleteAlthough it is not uncommon to have killed several people in the post-pandemic era, I think those characters who have taken lives also show a desire to improve through their tattoos. When Charlie first arrives at the Severn City airport, Clark notices "flowers, musical notes, names in an elaborate scroll, a rabbit" and "[f]our knives tattooed in a row on her right forearm" (Mandel 279). Names are generally tattooed to honor an important person, and the knife tattoos function in a similar way. Charlie might not have known all of the people she killed, but by tattooing a knife for each of them, she carries a record of their existence. This is especially significant considering that she lives in a time where people frequently disappear or die without a trace. The tattoos may mark death, but they present Charlie and Kirsten as keepers instead of killers.
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